WOMAN OF THE WEST GENRE, GENDER, AND POLITICS IN JOHNNY GUITAR A Mulher do Oeste Gênero Cinematográfico, Gênero Social e Política em Johnny Guitar Johnny: A posse isnt people. Ive ridden with them and Ive ridden against them. A posse is an animal, moves like one and thinks like one. Vienna: Theyre men with itchy fingers and a coil of rope around their saddle horns looking for somebody to hang. And after riding a few hours they do not care much who they hang. You havent told me a thing I dont know. Johnny: I havent finished. Vienna: Finish, but be brief. Johnny: A posse feels safe because its big. They only make a big target. I can ride around and pick up a few. The rest of them lose their guts, turn pale, and break up and go home. Antonio João Teixeira* The dialogue above takes place in the last third of the Western Johnny Guitar (1954), directed by NicHolas Ray, and clearly portrays tHe feverish enthusiasm of a posse formed by black-clad people (they have just been to a funeral, hence the black clothes), who are willing to have some bank robbers hanging; not only the bank robbers, in fact, but also Vienna (Joan Crawford), the woman who supposedly protects them. As she has committed no crime, their wish to hang her must be related to their prejudices against her way of living. Vienna is a saloon owner who succeeded in that small town in the middle of nowhere by means which had nothing to do with luck, as she sarcastically asserts to a jealous Johnny, who had been her lover five years before and has now been summoned in order to protect her. *Universidade Estadual de Ponta Grossa REVISTA LETRAS, CURITIBA, N. 78, P. 97-110, MAIO/AGO. 2009. EDITORA UFPR. 97 TEIXEIRA, A. J. WOMAN OF THE WEST... The posse is led by Viennas rival, Emma (Mercedes McCambridge), whose Hatred for the saloon owner seems out of proportion in relation to what she did in the past, Vienna had a brief love affair with the Dancing Kid (Scott Brady), the object of Emmas affection. The irrational wish to destroy Vienna must have deeper reasons, thus, of which Emma does not seem to be fully aware. The posse is made up of a group of people who pretend to be righteous, but who are in fact led by their prejudices, fascist behavior, disregard for the law, and their own personal interests. The leaders of the posse, Emma and McIvers (Ward Bond), the two most powerful people in town, are cattle raisers who wish to enlarge their domains and are not therefore interested in the construction of the railway, which will inevitably bring farmers to the region. This is not, of course, the first Western to deal with the collective fury of a group of people against outlaws. Here, however, the posse seems to have a more complex range of meanings. A lot of emphasis is given to the group from the very beginning of the film, so that it does not function only as another element of the plot, but allows for a polarization in ideological terms on one side, we have the members of the posse, a bunch of irrational, unjust, and prejudiced people, who are only interested in their own well- being; on the other side, we have Vienna, Johnny Guitar, the Dancing Kid and his group, and the men who work for Vienna, who do not easily fit in the conventions of the small community, which marginalizes them. Vienna, however, is a businesswoman with a progressive frame of mind, who is trying to make business with people who can envisage an era of progress for the region. The posse is a threatening and frightening group of people. Because they have been to the funeral of Emmas brother, a victim of a stagecoach hold-up, they dress in black, and their vulture-like figures contrast with the bright colors of Viennas mens shirts and her own red scarf. As they have no real motives to condemn Vienna to death, and pursue her relentlessly, they bring to mind a repressive force that existed in the Fifties in the United States during McCarthyism. This force was embodied in the House Un-American Activities Committee (HUAC). The investigations of this committee, also called witch-hunts, aimed at detecting supposedly subversive individuals, that is, individuals that sympathized with the Communist credo. This committee acted according to data given by informers and created an atmosphere of terror anyone could be accused of trying to overthrow the government and could have their political beliefs recorded. Hollywood was one of the targets of this committee. A group of people involved in film production, The Hollywood Ten1, refused to answer any questions and argued that the First 1Herbert Biberman, Lester Cole, Albert Maltz, Adrian Scott, Samuel Ornitz, Dalton Trumbo, Edward Dmytryk, Ring Lardner Jr., JoHn Howard Lawson and AlvaH Bessie. 98 REVISTA LETRAS, CURITIBA, N. 78, P. 97-110, MAIO/AGO. 2009. EDITORA UFPR. TEIXEIRA, A. J. WOMAN OF THE WEST... Amendment of the American Constitution gave them the right to do this (FRIED). Ward Bond, However, tHe actor wHo plays McIvers in Johnny Guitar, was one of the main agents responsible for the spreading of hysteria among the actors, whereas Starling Hayden, who plays the title character, resisted being an informer as much as he could, but finally gave in (VEILLON, 1993, p. 221). These facts show that the Hollywood community was well aware of what was going on and suffered the consequences of the witch-hunts; thus, the hysteria of the posse in Johnny Guitar could very well metapHorize tHe hysteria that dominated not only the film community but also the whole country. My argument is that Johnny Guitar, in spite of being a film inserted in the commercial cinema of the Fifties it was released in 1954 , being thus subjected to the conditions of the Hollywood mode of production of the times, disrupts the accepted conventions of the Western genre besides other things, mainly by challenging notions of gender and by so doing presents, in its own construction, a subtext which condemns obscurantism, ideological control, and fascistic attitudes like the ones performed by the HUAC. In this way, Johnny Guitar, a Western, is also a political film, although not a film that overtly deals with politics. I think this distinction can be made more evident if we take into consideration Stephen Princes opposition between an instrumental theory of art and a transformative theory of art. In The Warriors Camera, Prince says tHat, in instrumental tHeories, art is viewed much as an apparatus that can be taken over by groups or classes and used to communicate new agendas (PRINCE, 1991, p. 157). In cinema, such a political agenda would be placed in the content of the film, so that the audience could more easily grasp it, due to the familiar conventions of the popular form. Then Prince goes on to say that, on the other hand, in contrast to instrumentalist views that tend to deny the primacy of the form, transformative views of art emphasize this primacy, in a way that the artwork becomes a construction that transforms, rather than reflects, the materials of social reality, for politics enters the artwork through the structural relations of its materials (PRINCE, 1991, p. x157-8). Although Johnny Guitar cannot be said to be self-reflexive, to tHe extent tHat Godards films, for instance, are, and belongs to the mode of classical Hollywood film, it is possible to argue that in its mise-en-scène it goes against the conventions of the Western genre and challenges notions of gender. In the process it becomes a film that favors change, freedom, and transgression, not only on the level of content the coming of the railway, the opposition to the irrational attitudes of the posse but also in its very construction. From this perspective, it can then be included in the view of art that Prince calls transformative. REVISTA LETRAS, CURITIBA, N. 78, P. 97-110, MAIO/AGO. 2009. EDITORA UFPR. 99 TEIXEIRA, A. J. WOMAN OF THE WEST... Johnny Guitar is not a conventional Western. Its weirdness has been accounted for since its release. The Oxford History of World Cinema says that during the 1950s Ray went on to make a number of unorthodox and off-beat genre films mainly crime films but also Westerns notable not only for their visual fluidity but for the edgy intensity of their character portrayal and their rejection of the prevailing conformist ethos (p. 456). David Shipman refers to it as a bilious Western (SHIPMAN, 1982, p. 935) and Jeanine Basinger argues that the sophisticated viewer perceives power and madness in Johnny Guitar, a delirious film (BASINGER, 1984, p. 226). In Movies of the Fifties, Peter Howden affirms that Johnny Guitar, possibly the most bizarre Western ever made, concentrates on the psychological and sexual tensions in the relationship between the two main female characters, Vienna (Joan Crawford) and Emma (Mercedes McCambridge) (HOWDEN, 1982, p. 163). Douglas Brode says, in The Films of the Fifties, that the people who love and hate the film agree on one point: Johnny Guitar is tHe weirdest Western ever made, concluding with a shoot-out between two women as the men stand by helplessly and watch (BRODE, 1976, p. 129). And Philippe Paraire considers it an avant-garde anti-Western (PARAIRE, 1994, p. 149). As the quotations above indicate, Johnny Guitar cHallenges tHe conventions of the Western film. Because this is one of the oldest and most codified genres of the American cinema, its transgression is more evident, for as Jean-Loup Bourget points out, whenever an art form is highly conventional, the opportunity for subtle irony or distanciation presents itself all the more readily (MAST, 1992, p.